31.03.2017 to 31.03.2017 - Tanzquartier Wien
HELMUT PLOEBST (AT) / CHRIS STANDFEST (DE/AT) - DIE HAUT DER KRITIK
• Days with event
HELMUT PLOEBST (AT) / CHRIS STANDFEST (DE/AT)
DIE HAUT DER KRITIK
Theorie / Redereihe
Location: TQW / Studios
What does get under the critical skin of contemporary art? Can critique evade normativity, and do we have to weaken it immediately, as soon as it empowers itself? How to criticise critique – weaken in order to strengthen? And concretely: which critique today strengthens contemporary dance and performance, and first of all – which critique is strengthened by these?
Enlightenment of the Negative
Who today would want to conquer the hearts of a critical generation with a slogan like “No Future” as punk managed to in the 1970s? Or launch a “No Manifesto”, like Yvonne Rainer ten years earlier. The once cult negative has thus largely lost its sexiness, in the same way as photography has lost its analogue negative. But after the “sore point” that was placed behind the critique, this rewrites itself afresh as a “critical version” – also from the photo-negative.
Crisis and Critique (Benjamin/Brecht) & Critical Joy (Peaches/Hennessy)
In 1929 in a letter to Brecht, Benjamin formulated their joint magazine project Crisis and Critique as follows: “[it would] occupy the hitherto empty place of an organ in which the bourgeois intelligentsia renders its account of the demands and insights, which alone allow it under current conditions to produce in an interventionist manner and with consequences”. An attempted rereading without nostalgia. And how could traces be laid from there to the workshop performance Critical Joy (2016) by Keith Hennessy and Peaches, who state: Critical: Being awake to structural violence. Joy: The secret of struggle (Alice Walker)?